The ones I listen to... #7

I discovered ambient music some 10-12 years ago. Now it’s one of my favorite music styles both for composing and listening to. Unlike other forms of instrumental music that often require concentration while listening, ambient music can also be enjoyed while doing other activities, such as reading, meditating, or exercising. It often has a soothing and even healing nature, so it’s a perfect getaway from stress and anxiety. I tend to listen to it carefully and with patience. In a creative sense, minimalism is probably what draws me the most when it comes to this particular style. The ability to say so much with as few elements as possible. Of course, you can easily go in the other direction as well. The sky is the limit in ambient music.

Like many others, I was originally introduced to this style through the works of Brian Eno. The legendary British producer and sound designer is often considered the father of modern ambient music. His famous series of ambient albums, “Ambient I-IV”, is almost a perfect introduction vehicle for newcomers. Each of the albums has its distinct style and atmosphere. It also showcases various creative techniques employed in the ambient genre. Eno, a brilliant innovator, was involved in the development of some. This includes concepts like time stretching, creative delays, and various types of sound layering.

Sound design is an art in its own right - “painting” or “drawing” with sounds. You can be creative while employing just a few simple musical elements, if any. Still, I generally prefer ambient music that is also compelling in a musical sense. One of the first ambient artists whom I discovered was the late American pianist and composer, Harold Budd. This amazing artist collaborated with Eno on two highly important ambient works, “The Plateaux of Mirror” and “The Pearl”. Budd nurtured a characteristic “shimmering” piano technique that often feels like sunlight glittering on water or shadows dancing. I remember reading how Budd often listened to the wind humming through electric wires in his childhood, and how this has inspired his musical work. In a compositional sense, Budd is mostly a minimalist trying to tell a story with very subtle harmonic changes. Add the gorgeous synthesizer and sound design backdrops to this, and his music becomes a true feast for the ears.

Besides the two mentioned collaborations with Eno, the highlights of Budd’s opus are his earlier albums, “White Arcades” and “Lovely Thunder”, though some of the later ones like “Avalon Sutra” are also compelling. Budd also often worked with the ambient guitarist Robin Guthrie, whose playing style blends beautifully with his piano technique.

Quite later, since I first dived into ambient music, I discovered Roger Eno. A younger brother of Brian Eno is a more neoclassical than ambient artist and composer, but successfully and gracefully marries the two styles. Primarily a pianist, he typically composes pieces with a simple structure revolving around a strong melody or motif. My favorites amongst his works are his early album “Voices,” which aesthetically shares many traits with Brian Eno’s sound colors. “Between Tides” is a delicate and elegant work, combining piano and intimate string arrangements. Later albums by Roger Eno are mostly calming and soothing. I was particularly impressed with “Mixing Colors”, which is a collaboration album with his brother, Brian Eno.

The last ambient artist I will mention here is an American composer, Steve Roach. He was strongly influenced by electronic and new age music of the 1970s, but also by various ethnic and folk styles. Many critics consider the double album from 1988 called “Dreamtime Return” as his masterpiece. This is a “sonic documentary” on Aboriginal culture and the spiritual world. It blends synthesizer textures with carefully captured field recordings. My personal favorites are “Strata” and “Soma”, albums produced in a collaboration with another ambient artist, Robert Rich. The mentioned albums combine intricate rhythms, performed on various ethnic drums and percussion, with hypnotic and meditative synthesizer backdrops.

There are far too many excellent ambient artists to be mentioned in this short text. As a composer, performer, and simply a listener, I’m so glad that I discovered ambient music. Creatively speaking, there are always periods when you get fed up with coming up with recognizable melodies and intricate harmonies. When you need some more creative freedom and space. This is where ambient music shines. But do not be fooled. This particular style is rather demanding, both for creators and for listeners.